Early music

• 

  Año 2004, Vol. 32, Número 1

  • Editorial

    Tess Knighton

    pág. 1

    

  • The sound orchestras make

    Roger Norrington

    págs. 2-5

    

  • Once again: reflections on Beethoven's tied-note notation

    Jonathan Del Mar

    págs. 7-25

    

  • `Sonade, que me vuex tu?¿: reconstructing French identity in the wake of Corelli's op.5

    Peter Walls

    págs. 27-47

    

  • &Eaucte;tinne Nau, Breslau 114 and the early 17th-century solo violin fantasia

    Brian Brooks

    págs. 49-72

    

  • Theatre, dance and music in late Cinquecento Milan

    G. Yvonne Kendall

    págs. 75-90

    

  • Orlando di Lasso's `Fireworks¿ music

    Franz Körndle

    págs. 97-116

    

  • Musical enterpreneurship in 15th-century Europe

    Pamela F. Starr

    págs. 119-133

    

  • Instrumentalized insights

    Jeremy Llewellyn

    págs. 135-138

    

  • The galant era clarified

    Julian Rushton

    págs. 138-139

    

  • Music in Renaissance Italy

    Bojan Buji¿

    pág. 140

    

  • Pierre de la Rue, international man of mystery

    Fabrice Fitch

    págs. 143-144

    

  • All about the orchestra

    Clive Brown

    págs. 147-148

    

  • Fernando Sor, composer-guitarist

    Thomas F. Heck

    págs. 148-149

    

  • Serenades and Sammartini

    Peter Holman

    págs. 151-153

    

  • From provincial cathedral to Chapel Royal

    John Morehen

    págs. 154-155

    

  • There is nothing like the dame

    Frederick Hammond

    págs. 156-157

    

  • Beyond Josquin

    John Milsom

    págs. 159-163

    

  • Gombert, Rore, Gabrieli

    Martin Ham

    págs. 165-167

    

  • Caribbean splendour

    David Irving

    págs. 167-168

    

  • This beauteous wicked disc

    Barnaby Ralph

    págs. 169-170

    

  • FIMTE Symposium

    Penelope Cave

    pág. 172